Psychohistory: the study of psychological motivation for historical events

Is it possible that a single violent event can rupture the fabric of the space-time continuum, create an Alice In Wonderland like portal to an eternal nightmare. And do the illuminati of politics and pop culture tap into these dates for their evil ceremonies - ceremonies of which we are mere chattle?

Was the world sucked into its own qliphoth on one such day in 1963?

Tonight on the English Heretic psychohistory channel, we offer the opportunity to explore the mind-bending, mind-blowing synchronicities of 22ndNovember 1963. For not only did the president of America fall victim to the assassin's rifle but that very day in California, author and psychedelic voyager Aldous Huxley succumbs to cancer. As his physician Dr. Bernstein watches news of JFK in the living room, Huxley's wife injects the writer with a death bed dose of lysergic acid. Stranger still, beneath the dreaming spires of Oxford, England, the much loved chronicler of Narnia, Clive Staples Lewis slips to a synchronous coma before departing to the otherside of the mortal wardrobe.

More sinister yet, in the world of pop, The Beatles, a few hours prior to the assassination, release their second album “Meet The Beatles” - a coincidence? Possibly, though 5 years later to the day, drug-addled, Messianic and world conquering, they release the infamous White Album. The White Album becomes the apocalyptic seal for Charles Manson's California death cult. Were these release schedules really occult marketing events?

Is it also possible that the cosmic arbiters of good and evil, use this date to deliver us from rex mundi, the satanic possession of the planet. A ridiculous theory perhaps, but 27 years to the day of the savage ceremony at Dealey Plaza, Margaret Thatcher, the Iron Maiden of British Politics resigns at the door of Downing Street. Britain awakes from her Elizabeth Bathory like reign of blood sacrifice in South Sea Islands.

In our inaugural Kennedy Day celebration, we are inviting performative responses to each or all of these synchroncities: musical, visual or theatrical re-enactments of Huxley's death bed trip, Thatcher's exit from her Macbethian rule, Lewis on the other side of Narnia, decodings of The Beatles' pop grimoires.